The Lies of Locke Lamora by Scott Lynch

19385917Hey everyone! I’m back with another book review. This time, I will be reviewing an adult fantasy that one of my favourite series, The Legend of Eli Monpress by Rachel Aaron, has frequently been compared to: The Lies of Locke Lamora.


Locke Lamora and his band of thieves, called The Gentlemen Bastards, launch a complex plot to steal half the fortune of one of the barons in the City of Camorri. However, they become embroiled in the bigger, more dangerous plots of a mysterious man named the Grey King.

Rating: 4.5 / 5
Warnings: cursing (high), gore (high), sexual content (medium)

My Thoughts

I think this is the first book I’ve read that didn’t get a full score because some things were lacking, but because they were excessive. So it’s safe to say that this book has everything I like in books: dynamic, empathetic characters; complex plots; and interesting world-building. It really does have everything. Continue reading “The Lies of Locke Lamora by Scott Lynch”

That Manifesto Thing

Someone at work last week pointed out the whole Google Manifesto shenanigan over the previous weekend. As a woman in tech, this is something I hear about all the time, but I’m too busy to give them the time of my day. I try to be a positive person, so instead of dwelling on all the lame comments that peppered social media, I’m just going to focus on those who have rebutted the manifesto with much better articulation that I could ever have.

A Brief History of Women in Computing: What I love about this article is that it pointed out exactly what the biggest problem was in the Google Manfiesto. The manifesto presented several biological research and used it to try to justify why women could be less suited for computing. However, as this article points out, the jump was too big. The biological components pointed out may explain certain traits, but not how those traits exactly cause an interest (or lack thereof) in computing specifically. As it is, the manifesto (and yes I read it) to me sounded like it was motivated by the author’s deeply held stereotypes about women and tried to back up his beliefs retroactively. Additionally, the manifesto does not address how modern computing environments were shaped by men and optimized for their own behaviour. Because let’s face it: a profession’s environment affects its workers, while workers in turn affect the environment. The relationship is symbiotic. Several of the manifesto’s points pertain more to computing environments rather than the actual task. For example, it said that computing is a high-stress profession requiring less empathy and social interactivity. Is it possible that women, with their different biology, could thrive in a different, yet equally productive, computing environment? I don’t know, and I think it would be more productive to conduct research on it than to rely on stereotypes to make leaps in conclusion.

So, About this Googler’s Manifesto: What I like about this article is his explanation about how engineering isn’t an isolated endeavour. This was a misconception I had when I was younger, and it’s actually something that attracted me to the field, because I like doing solo work. I’ve grown out of that misconception though, and I love computer science enough to also appreciate its collaborative and social aspect.

Tech’s Damaging Myth of the Loner Genius Nerd: This article expands a little bit more on the misconception of engineering as a solo task. What’s even more important is that it points out one of the things that really annoy me in the Artificial Intelligence / Deep Learning sector today: engineers seem to be developing tools for things that I don’t think many people will use. Take for example, machines that beat other players in a very particular game. What is this doing for the world at large? For people who are not gamers? For people from low-income households or third-world countries? What is this doing for the environment, for our healths, for improving society in general? As a computer scientist, making a positive impact in the world is my life goal, and it can be puzzling to hear that advancements in my chosen concentration mostly serve such a tiny niche. Every week you hear about that new deep neural net that can now replace a writer or an artist, but how about helping marginalized creators reach the audience who want to read their work? When did voices of machines become more important than the voices of humans? Especially when you know that these machines have been trained on a very particular subset of work that are most likely mainstream already. This article explains a little bit more on why empathy might be the key to averting this trend.

Anyway, that’s all I have for now. Like I said, I don’t like to dwell on this kind of situations. If you have any article you’d like to share, let me know. Or if you have thoughts about computer science or AI and what you think they can do for society, let me know too!

Gap Books

Oh, following up on my previous post, I saw this today over at Shannon Hale’s twitter:

Please read the entire thread! It touches upon some of the things that really irks me in publishing and YA community right now.

Sci-Fi and Fantasy Week on Goodreads: Or Adults VS YA VS MG

So, so, so, I found out today that it’s Science Fiction and Fantasy Week on Goodreads. I was excited to see what lists of books they recommend, when I made a mistake of reading through the comments section. Yeah, unfortunately. Who reads the comments section, these days, on anything? Those who are incredibly healthy, who aren’t in threat of keeling over due to high-blood pressure, that’s who. And while I think that would include me, a pretty hale 25-year-old… I’m not so sure anymore.

See, if you take a peek at the comments, you’ll find it infested with the usual classical champions arguing with trash defenders. I’ll make my position clear and say that I am very much a trash defender, mostly because I find it very difficult to have any affinity with classical works (especially since they’re so Eurocentric). And let’s face it! While I love reading books that are exhilarating and poignant just as much as the next reader, I do have times when I just want some cheap, brain candy. Sometimes I want my mind to take a break from the hassles at work and life, and if that means resorting to easy entertainment, it’s actually not bad for my health. It’s certainly not going to be any worse than getting all worked up, with arteries bursting and veins popping, hating on books that are written after the 70’s.

This blog post, or perhaps a better word for it would be rant, is going to be focused more on the divide between SFF Adult/YA/MG readers, because a lot of the comments in that Goodreads post is aimed at belittling younger readers.

Fact 1: I love children’s books. Yes, I’m 25, and I would unapologetically, unabashedly walk in the children’s (9-12) section of Chapters Indigo. I find children’s books to be so fresh and imaginative. They also often deal with themes that are central to my life even at this point in my mid-twenties: family, friendship, home, identity, finding your place in society, loyalty, and bravery. There are tons of other themes that I can’t pull off of the top of my head at the moment.

In fact, the majority of my favourite books are (or once were considered, since marketing ploys these days tend to push books towards the YA shelves) for children: The Queen’s Thief series by Megan Whalen Turner, The Goose Girl by Shannon Hale, The Lost Conspiracy by Frances Hardinge, and many more.

I love this a quotation by Diana Wynne Jones about the intellect of children and how they respond to books:

“Writing for adults, you have to keep reminding them of what is going on. The poor things have given up using their brains when they read. Children you only need to tell things to once.”

There are other people who have defended children’s literature in much more articulated fashion than I ever will, so I will just move on to the next point.

Fact 2: I like YA books. They’re dramatic, and they pull you in with a lot of shiny, mysterious allure, and when they get the romance right, they really get it right, if you know what I mean. In terms of themes, they might be a little more titillating with their handle on sexuality and morality; otherwise, I don’t think YA touches on themes that children’s books are not able to handle either. And I’ll get more to this a little later.

Fact 3: I like adult books. From their complex world-building to their flowy, detailed sentences, it’s a treat to lose yourself in different world so thoughtfully built.

Here’s my problem though. As someone who reads across all age-ranges, I don’t actually find anything that different in the thematic takeaway or profundity of books targeted for different age groups. I am forced to ponder about colonialism in The Lost Conspiracy as I am with Illusions of Fate. I am forced to ponder about spiritualism in Moribito as I am in Mistborn.

You know what I find to be the only thing that’s really different these days? The explicitness in sexuality and violence, and level of details in the writing. That’s all.

And so I froth at the mouth whenever people look down on books aimed for younger audiences, and because the lowest common denominator here are middle grade books, they unfortunately get the most flack.

Adults VS YA&MG

I’m not saying there aren’t bad YA and MG books out there. Oh there definitely are. But the bad books crop up equally in all three target age ranges. There are bad writers in all three tiers; there are poor plotters in all three tiers.

And each tier have their own set of overused, trite tropes.

Personally, I’m not a fan of love triangle at all; I almost refuse to read any book with a hint of love triangle in it, so that rules out a good lot of YA real estate for me. But you know what? I find a lot of love triangles in adult books too. And they’re not always better handled. If anything, a love triangle is a love triangle is a love triangle, and they’re just as tiresome in an adult book as they are in a YA book.

As someone who’s not that interested in romance, I do tend towards the children’s shelf more often than YA, because romance is such a central theme in so many YA books, and unless it’s handled in a tasteful way, I wouldn’t be that interested. Adult SFF books usually have tame romances as well, and even if they do get kind of explicit, the portion of the book that’s dedicated to romance is still pretty low, unless it’s jointly marketed as romance.

Also, I’m not a fan of gratuitous violence. The emergence of grimdark, I find rather unfortunate, not for its existence, since I know that there are people who find value and entertainment in grittiness and gore; but it’s unfortunate that people treat grittiness and gore now as an end in themselves, and not as a means to some overarching point. I don’t like how somehow if a book is “gritty” and “dark” that automatically entails maturity. Perhaps my definition of maturity is just different, because I think that finding hope and goodness in a world marred by evil is much more mature than succumbing to the bleakness of it all.


You know, it’s strange because I feel like YA readers and MG readers would be better allies, but that hasn’t always been my experience. YA is sort of a new genre; fifteen years ago, there wasn’t a Young Adult section in the libraries and bookstores I go to. It wasn’t until Twilight came out that the books for younger readers became segregated into 9-12 and 13+. I have a little bit of a complex relationship with the YA community, because while I like some YA books, I find the YA community to be a little confusing.

See, YA readers would be the first to argue with adult readers about how YA books are meaningful despite being aimed at younger audiences. However when I was just getting into YA, there were a lot of YA readers who, ironically, turned up their noses on MG books in the same way adults turned their noses up at YA books. Since I was just transitioning between MG books to YA books at the time, I found the flippant attitude to really repel me from the community. Readers were bashing children’s books that I love, simply because they were for younger audiences, and I can bet that many of these readers had read those same books just few years prior.

Go to Goodreads now, and you will see a myriad of reviewers who say things like, “Oh, this book was bad. It must be written for younger audiences” on some YA books. What is that even supposed to mean? That the poor quality YA books are reserved for children? A bad book is a bad book regardless of what age it’s aimed at. I don’t understand how reviewers can think that if a book doesn’t cater to their taste, it automatically means that they’re too mature for it.

My other pet peeve is when high quality children’s books are repackaged and marketed for YA. It’s great that we’re encouraging teens to read books that work for younger audiences, but what I don’t like about this is that it reinforces the idea that MG books are of poorer quality. Because every time that a good-quality MG book is taken out of the MG shelf and placed in YA, then the only things that are left in the MG shelves are the ones that are not so good, which only supports the belief in the first place.

It’s the same story when we pull out a “cleaner” adult book and repackage it as a YA book. Again, great that we’re diversifying the YA shelves, but it only reinforces the idea that the books that belong in the adult shelves are the ones chock full of dirty and gritty stuff. I don’t like the implications of that… that to be considered mature, you have should be into darker or saucier things altogether. No, that’s not nearly sufficient nor necessary for maturity.

Well, This is Getting Long…

I think part of the problem really is that these categorizations are pretty arbitrary. Books are subjective in general. I think it’s better if we just encourage the idea that no matter what age we’re looking at, there will be bad books and there will be good books. It’s up to the reader to discern what works for them.

Oh, and let’s not even get into these classicists…

July 2017 Camp NaNoWriMo


Woot! So I’m a winner in this month’s Camp NaNoWriMo!

Alright, so I might have cheated a little bit and bumped down my target word count from 50,000 to 40,000. That said, my goal for this camp was to finish off my first draft, and finish it off I did! There were some parts that I wasn’t sure about, and had to write a detailed outline instead of writing it out fully; there were other parts that made sense in my initial outline but no longer did by the time I came to it, so I just jotted down some notes to remind myself to fix it later on. But I suppose these are what first drafts are for.


Moribito: Guardian of the Darkness by Nahoko Uehashi


Okay, I am so excited to review this book. This is the sequel to Moribito: Guardian of the Spirit, which is also the the basis of the anime, Seirei no Moribito. I read the book and I watched the anime back in 2015, and I fell completely in love with both. I got distracted since then, which was why it took me so long to pick this book up even though I bought both books at the same time. I really regret it, because… you guys… this book is beyond amazing!


After the events of Guardian of the Spirit, Balsa decides to return to her homeland of Kanbal, from which she and her foster-father were forced to escape due to a cruel conspiracy by the late King Rogsam. She wishes to find closure from her past and believes that returning to her homeland to find it is the best idea. However, upon her return, she finds herself once again entangled in another conspiracy, possibly still a continuation of the one that had led to her flee in the first place.

Rating: 5/5

My Thoughts

Oh my gosh, you guys. I really want to applaud this book for being a children’s book but not shying away from really tough situations. I’m not talking about X-rated, cover-your-eyes type of situations, but complicated themes like death, revenge, shame and honour. I know that these themes already often occur in books that are geared for older audiences, and because they occur so often, they are rarely relegated sufficient thought and exploration. But in this book, you really get to see how these themes affect a person’s humanity.

What I love about this book first and foremost is the clever political intrigue. There was political intrigue in the first book as well, but this took it to an entire level altogether. Everyone was so smart, and you can feel the motivations of the characters, even those who had been corrupted by the first conspiracy.

The second thing I love about this book is the emotions. It might use simple, middle-grade level vocabulary to communicate, but oh man, that does not at all prevent the emotions from coming through. I was sitting on the train yesterday to work and trying not to cry during the climax because of that freaking plot twist.

Ah yes, the plot twist. The plot twist that was foreshadowed from the very first chapter and yet I still completely MISSED, until I was reading it. I could feel my heart stop. And I just want to bawl my eyes out. Oh Balsa. Poor, poor Balsa and poor, poor Jiguro.

Just like in the first book, the magic in this book does not really follow a system. It’s based on tradition and what “experts” in the magic tell you, and you must take it at face value. As someone who loves magic systems, this kind of magic is a little underwhelming, but you can tell that the story isn’t *about* the magic. It’s about the people who are just trying to make the best of their circumstances, and if those circumstances happen to deal with magic, so be it.

This book follows the same bittersweet ending that the first book did. Balsa may have accomplished her goal, but sometimes she needs to leave good friends behind and go on to have a different adventure. She is such a lonesome soul, I really want to know if she can find a place she can comfortably call home.

The only thing I really, really missed in this book was Tanda, her friend from the first book. Tanda was my favourite in the first book. However, that said, it was very heartwarming to see Balsa think of Tanda whenever she needed hope and warmth. It broke my heart when she thought of visiting him as a spirit in case she dies. I just… these two just need to get together already!

Writing Woes: My Bad Habits as a Fanfiction Writer

It’s July! That means it’s Camp NaNoWriMo for me! So far, I’ve been lucky to find the time to write so that I am, on average, hitting my word and plot goals. This month I plan to finish off the first draft to my novel, and I’m trying to do that in around 50,000 words.

The first two times that I participated in NaNoWriMo (the official one last November, and the camp version in April), I tried to employ the techniques I used as a fanfiction writer to churn out words and get my story moving. As you know, I have been writing fanfiction for 13 years, so I thought that if I had been able to write for that long, then I must have been doing something right.

I don’t think I was wrong in assuming that. But I think I was wrong in thinking that all the techniques I used to spin out story after story would apply to original fiction. Comparing how much better I’m doing in my third NaNoWriMo to the first two, I think I’ve sorted out which habits I used for fanfiction writing that aren’t translating very well to my original story.

1. Show, Don’t Tell

Yup, you read that right. This is such a common advice that is supposed to make your story better all the time, but I find that this isn’t the case for me. At least, it isn’t the case right now in my first draft.

I know why people duke out this advice all the time. I’ve read my fair share of books that just aren’t immersive. The best reading experience is when you feel, as a reader, that you’re part of the world you’re reading. To give this experience, writers must “show, not tell.”

The catch with this advice is that, IMHO, you really should not be showing all the time. This is a technique that I used as a fanfiction writer so that I could churn out those 15,000 word chapters that are so popular in fandoms. The more words you write, the more material your readers can engage in. That’s what they like. And fanfiction chapters are no big commitment to readers; they’ll gobble the stuff up at midnight, and wait (impatiently or patiently) for the next chapter.

So to beef up my chapters, I used to show everything. A character walking up the stairs? Yup, I’ll show how he took one step and the next, and I’ll probably describe what kind of internal conflict is prancing to the beat of those steps. I once read a fanfiction that described someone slipping and falling in so much detail, that it took more time for me to read the passage than for the character to fall.

While I think this is excusable in fanfiction, in the first draft of my original story, I realized that it’s holding me back. When I need to advance the plot, in the grand scheme of the story I want to tell, does it really matter what the characters are eating for breakfast and how they’re eating it and what they think about it? Do I really need to spend a page describing said breakfast? Because really, that’s what showing means. Showing is supposed to bring the readers along for the ride, and how can readers be immersed in the experience of breakfast if I don’t describe it?

The thing about writing that I’m finding out rather quickly is that not everything is important. If something is not going to make a very big impact in your book, or it’s not going to advance the plot or the characterization in some way, it’s probably best if you keep it out. Hence, it’s totally okay to just say, “Bob and Bill had breakfast, and then drove away.”

Because this is an advcie that I see everywhere, I’m still trying to get used to the idea that I can just “tell.” But for the first draft, I know that I can always plump up my scenes later after I’ve established what exactly is important or not.

2. Resort to Introspection

I love, love, love introspective fanfictions. All those times we’ve wondered what a character was actually thinking in a particular scene? Or perhaps I’m reading an AU and I want to see how their mind works in this new world? Introspection is one of my indulgent guilty-pleasures.

So naturally, when I write, I tend to resort to introspective scenes quite often. I do it primarily to fill up my word count in a show-y kind of way (as I mentioned above), but I also do it to open the characters’ minds up to the readers. My one-shots are usually full of introspection; my multi-chaptered fanfictions that have overarching plots have less introspection, but they are still noticeably there.

And here’s why I think too many introspective passages won’t work so well in original fiction: you want to leave some of those inner dialogue up to the reader. There’s a reason why I’m attracted to introspective fanfiction, and it’s because I didn’t get them in the canon material. But depending on what kind of story you’re writing, the main job of the canon material is to tell that story effectively in a limited number of space; the thing is, you’re not always going to have the luxury of giving a blow-by-blow account of what your character is thinking, and chances are, there are more important parts to the story you should be writing instead. Now, don’t get me wrong. I am primarily geared towards character-driven stories moreso than plot-driven. All I’m saying is that we don’t always need to be in their minds all the time. Sometimes, it’s sufficient to just see through their eyes.

That said, I totally understand that there are novels out there whose primary job is to get us into a character’s head. Mrs Dalloway, anyone? But considering that I’m writing a children’s fantasy adventure story, there are other things that I might need to be developing.

(Late reminder, but from now on, when I say “story,” assume I’m talking about genre fiction at the very least, or more specifically, fantasy fiction.)

3. Write 10,000 word chapters

A natural result of the first two, padded stories always lend themselves to extremely long chapters. Each of my fanfiction chapters have at least 3 scenes in it, whereas an average chapter in a real book probably deals with one scene at a time (not all, but mostly).

I realized how much this held me back in writing my original story, because I wouldn’t feel comfortable ending a chapter within, say, 1000 words even though I’ve already written what needed to happen in that scene. And I’d go, “How can I make this longer?” And so I would resort to #1 and #2. That meant I was spending time not advancing the story in any meaningful way. Ironically, because I was so used to padding my chapters with #1 and #2, I didn’t think about writing more effective scenes in their places. I would feel “stuck” on a chapter, because that other scene that would advance the plot obviously belonged to the next chapter, and I would keep postponing it. Terrible habit.

4. Take Weeks To Write a Chapter

And this definitely follows from the first three. As a fanfiction writer, I set my goal for finishing each chapter within two weeks. For 10,000 words, this seemed reasonable, especially because I’m a commuter and I work full-time. But sometimes, even when nothing is happening in a chapter, I would wait out those two weeks and try to churn something.

It took me a while to convince myself that I absolutely don’t need to spend two weeks on a chapter. I could write whatever I can today, and if tomorrow I feel like there’s nothing left in a chapter to work on, I could move on.

Well, when I started this last week, I think I had more example of bad habits on my mind. Now that I am finishing up, I realize I can’t think of anymore. So why don’t I take some advice from myself, and it this post right here? =)